Okay. You're right.
Schonberg's post-Transfigured Night work is very obviously dissonant...atonal...whatever. I was simply trying to make a point regarding the use of the word "atonal". I think that too often it gets used in relation to the 12-tone row when, (again) as I understand it, the 12-tone row was developed as a method of composing progressions, not harmonies (e.g. the organization of multiple tones at any one given moment).
You see what I'm saying...?
close ..but:
The serial procedures were primariy designed to AVOID the remaining restrictions of very advanced ( although triadically based ) chromatic harmonic practices ( eg: Transfigured Night was a latter example of the "before" picture )
They were based on rule and sets designed to bring an equality to the twelve tones by linear and contrapuntal means in the basic sense ..progressions were not a feature of the style ..harmonies resulted from: 1. a concurrence of any number of contrapuntal horizontal lines or 2. clusters of pitches drawn from the basic pitch" sets " ( pitch sets being the 48 tone configuration resulting from the four twelve tone row forms : original , backwards [retrograde], inverted [ a mirror of the original row where the interval between two pitches goes UP equally where it went DOWN in the original row] and retrograde of the inversion ..
gee ..wasn't that pedantic of me?
serial musically definitely did NOT feel greasy
yeah man, I'm hip:
disfuncional tonality!